Recording Violin & Piano

[XLR]

Ceilings are about 8 ft tall. Does that make a difference? (not that I can do anything about it I guess)

Makes a big difference. If a low ceiling is treated with acoustic foam, or as KRS suggests, a rug, it'll cut down the HF reflections a bit to simulate a higher ceiling, but even that won't sound nearly as good as using a room with a much higher ceiling. Using hypercardioid mic's will also cut down room reflection problems a lot. I've got high ceiing in my current recording space, but in my old place with an 8' ceiling the hypercard's were the only thing that made the room useable for me.

Tim

 

[mshilarious]

If you can make a relatively simple modification to your room, on this page:

http://www.realtraps.com/art_studio.htm

Ethan Winer describes how to build a 'floating cloud' with acoustic ceiling tile and insulation. This is inexpensive and only about a weekend's worth of work, if that. It will make a big difference in your room, and can look attractive with some attention to detail. Be sure not to cover the entire ceiling, just the central portion over the piano.

 

[jaba]

ribbon mics for violin??

Hello,

A couple of sales people I spoke with said that my #1 problem is that I shouldn't use condensor mics for violin/strings and that I should use Ribbon mics, such as AEA R84, Royer (ideally SF24), or for a tight budget, the Nady ribbon mic.

Any opinions or experiences?

thanks

 

[mshilarious]

Hello,

A couple of sales people I spoke with said that my #1 problem is that I shouldn't use condensor mics for violin/strings and that I should use Ribbon mics, such as AEA R84, Royer (ideally SF24), or for a tight budget, the Nady ribbon mic.

Any opinions or experiences?

thanks

Well, you know I almost suggested that earlier, but for two reasons:

1) I'm all for cheap solutions, and ribbons aren't cheap.

2) Sometimes salespeople will make recommendations without necessarily understanding the style of music. Many (all?) fiddle players prefer ribbons because they have that 'old time' sound you referred to in one of your earlier posts, but it doesn't follow that all classical violinists want the same sound. Some are going to prefer the more accurate sound of a good quality condenser mic, especially when a larger ensemble is involved.

So if you're in the market for new mics, then yes I'd compare the ribbons against a better pair of condensers, but be prepared to like either one (or both!)

In any event all of the mic techniques and room treatments discussed here are still applicable.

 

[mastac]

Hello,

A couple of sales people I spoke with said that my #1 problem is that I shouldn't use condensor mics for violin/strings and that I should use Ribbon mics, such as AEA R84, Royer (ideally SF24), or for a tight budget, the Nady ribbon mic.

Any opinions or experiences?

thanks

I have read up in another forum:
http://recforums.prosoundweb.com/index.php/mv/msg/4221/0/16/0
Many have said that ribbon mics are preferred in their recording of the violin due to the fact that it often adds a certain kind of coloration that is flattering to the violin sound. This coloration, however, can also be characteristic of various condensor mics. After reading a little bit of the one thread, many have said that using a mic that is not overly bright had brought the best results. The screeching and unpleasant high harshness can be caused by miking too close. Also, they have said to lower the height of the mic to reduce the harshness. I would guess that the MXL V67 would produce quite a bit better results given your problem than the MXL 603. The V67 is quite a bit darker, and the MXL 603 is known as a bright mic, which my attribute to the harshness of the recording.

Ribbon mics in general may be more flattering for violin recording, but I definitely wouldn't separate the ribbon mic sound vs. condensor sound as two completely different types of sound. There is way too much variety within condensor mics that I wouldn't make the kind of statement that those sales people have said. I believe Harvey Gerst mentioned in his review of the V67 that it was reminiscent of a ribbon mic in terms of its display of the proximity effect. Of course, that does't mean it will sound just like a ribbon mic at all, but it does help to show that there is a whole range of different types of condensor mics that can also give you a sound that is flattering to your violin.

If you can get a hold of a ribbon mic for cheap - then go for it (although I guess you would want to check around to see if the specific mic is decent enough period!). Just remember that condensor mics have many different sounds and perhaps you may find one that sounds just as good or better than a great ribbon mic for your particular application.

Also you may want to check this link to another thread which deals with recording piano and violin.

http://recforums.prosoundweb.com/index.php/m/39100/0#msg_39100

Good luck!
Craig

 

[XLR]

A couple of sales people I spoke with said that my #1 problem is that I shouldn't use condensor mics for violin/strings and that I should use Ribbon mics, such as AEA R84, Royer (ideally SF24), or for a tight budget, the Nady ribbon mic.

Any opinions or experiences?

I use the Beyer M160 ribbon. Gorgeous sound. Requires, as is the norm w/ribbons, an excellent preamp with low noise at very high gain.

Tim